The Project Gutenberg EBook of A Warwickshire Lad, by George Madden Martin
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: A Warwickshire Lad
The Story of the Boyhood of William Shakespeare
Author: George Madden Martin
Release Date: November 7, 2008 [EBook #27187]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK A WARWICKSHIRE LAD ***
Produced by David Garcia, Martin Pettit and the Online
Distributed Proofreading Team at https://www.pgdp.net (This
file was produced from images generously made available
by The Kentuckiana Digital Library)
A WARWICKSHIRE LAD
[Illustration: Birthplace of Shakespeare]
A WARWICKSHIRE LAD
THE·STORY·OF·THE·BOYHOOD
OF·WILLIAM SHAKESPEARE
by GEORGE · MADDEN · MARTIN
Author of "Selina," "Emmy Lou," etc.
[Illustration]
D. APPLETON AND COMPANY
NEW YORK LONDON
MDCCCCXVI
COPYRIGHT, 1916, BY D. APPLETON AND COMPANY
COPYRIGHT, 1903, BY P. F. COLLIER & SON, INC
Printed in the United States of America
LIST OF ILLUSTRATIONS
Birthplace of Shakespeare _Frontispiece_
PAGE
"Will clambered up on the settle to think it all over" 17
"Dad bends to tweak the ear of Will" 23
"'Ay, but those are brave words, Hammie,' says Gammer" 35
"'Save us! What's that!' cried Gammer" _facing page_ 40
"'Ay, boy, you shall see the players'" 45
"'An' I shall be a player, too,' ... says Willy Shakespeare" 53
"His mother stepping now and then to the lattice window" 57
"Bound for Grandfather's at Snitterfield they were" 67
"For instance he knew one Bardolph ... the tapster at the tavern" 73
"Hidden away among the willows ... he spends the morning" 79
"The two have run away ... to wander about the river banks"
_facing page_ 86
"He ... trudged up the path and peered in at the open door" 89
"'When the masterful hand, groping, seizes mine, I shall know it'" 93
"This strange thing called Death...." _facing page_ 98
"Dad ... sat staring in moody silence" 101
"Tall, sturdy Will Shakespeare could buy up cattle ... as well as
the butcher's son" 109
A WARWICKSHIRE LAD
I
Little Will Shakespeare was going homeward through the dusk from Gammer
Gurton's fireside. He had no timorous fears, not he. He would walk
proudly and deliberately as becomes a man. Men are not afraid. Yet
Gammer had told of strange happenings at her home. A magpie had flown
screaming over the roof, the butter would not come in the churn, an' a
strange cat had slipped out afore the maid at daybreak--a cat without a
tail, Gammer said--
Little Will quickened his pace.
Dusk falls early these December days, and Willy Shakespeare scurrying
along the street is only five, and although men are not afraid yet----
So presently when he pulls up he is panting, and he beats against the
stubborn street door with little red fists, and falls in at its sudden
opening, breathless.
But Mother's finger is on her lips as she looks up from her low chair in
the living-room, for the whole world in this Henley Street household
stands still and holds its breath when Baby Brother sleeps. Brought up
short, Will tiptoes over to the chimney corner. Why will toes stump when
one most wants to move noiselessly? He is panting still too with his
hurrying and with all he has to tell.
"She says," begins Will before he has even reached Mother's side and his
whisper is awesome, "Gammer says that Margery is more than any ailin',
she is."
Now chimney corners may be wide and generous and cheerful with their
blazing log, but they open into rooms which as night comes on grow big
and shadowy, with flickers up against the raftered darkness of the
ceilings. Little Will Shakespeare presses closer to his mother's side.
"She says, Gammer does, she says that Margery is witched."
Now Margery was the serving-maid at the house of Gammer Gurton's
son-in-law, Goodman Sadler, with whom Gammer lived.
Mother at this speaks sharply. She is outdone about it. "A pretty tale
for a child to be hearing," she says. "It is but a fearbabe. I wonder at
Gammer, I do."
And turning aside from the cradle which she has been rocking, she lifts
small Will to her lap, and he stretching frosty fingers and toes all
tingling to the heat, snuggles close. He is glad Mother speaks sharply
and is outdone about it; somehow this makes it more reassuring.
"Witched!" says Mother. "Tell me! 'Tis lingering in the lane after dark
with that gawky country sweetheart has given her the fever that her
betters have been having since the Avon come over bank. A wet autumn is
more to be feared than Gammer's witches. Poor luck it is the lubberfolk
aren't after the girl in truth; a slattern maid she is, her hearth
unswept and house-door always open and the cream ever a-chill. The
brownie-folk, I promise you, Will, pinch black and blue for less."
Mother is laughing at him. Little Will recognizes that and smiles back,
but half-heartedly, for he is not through confessing.
"I don't like to wear it down my back," says he. "It tickles."
"Wear what?" asks Mother, but even as she speaks must partly divine,
for a finger and thumb go searching down between his little nape and the
collar of his doublet, and in a moment they draw it forth, a bit of
witches' elm.
"Gammer, she sewed it there," says Will.
A little frown was gathering between Mother's brows, which was making
small Willy Shakespeare feel still more reassured and comfortable, when
suddenly she gave a cry and start, half rising, so that he, startled
too, slid perforce to the floor, clinging to her gown.
Whereupon Mother sank back in her chair, her hand pressed against the
kerchief crossed over her bosom, and laughed shamefacedly, for it had
been nothing more terrible that had startled her than big, purring
Graymalkin, the cat, insinuating his sleek back under her hand as he
arched and rubbed about her chair. And so, sitting down shamefacedly,
she gathered Will up again and called him goose and little chuck, as if
he and not she had been the one to jump and cry out.
But he laughed boisterously. The joke was on Mother, and so he laughed
loud, as becomes a man when the joke is on the women folk.
"Ho!" said Will Shakespeare.
"Sh-h-h!" said Mother.
But the mischief was done and Will must get out of her lap, for little
Brother Gilbert, awakened, was whimpering in the cradle.
Will clambered up on the settle to think it all over. Mother had started
and cried out. So after all was Mother afraid too? Of--of things? Had
she said it all to reassure him? The magpie had flown screaming over the
house for he had seen it. So what if the rest were true--that the cat,
the cat without the tail stealing out at daybreak, had been--what Gammer
said--a witch, weaving overnight her spell about poor Margery? He knew
how it would have been; he had heard whispers about these things before;
the dying embers on the hearth, the little waxen figure laid to melt
thereon, the witch-woman weaving the charm about--now swifter, faster
circling--with passes of hands above.
[Illustration: "Will clambered up on the settle to think it all over"]
Little Will Shakespeare, terrified at his own imaginings, clutched
himself, afraid to move. Is that only a shadow yonder in the corner, now
creeping toward him, now stealing away?
What is that at the pane? Is it the frozen twigs of the old pippin, or
the tapping fingers of some night creature without?
Will Shakespeare falls off the settle in his haste and scuttles to
Mother. Once there, he hopes she does not guess why he hangs to her so
closely. But he is glad, nevertheless, when the candles are brought in.
II
But these things all vanish from mind when the outer door opens and Dad
comes in stamping and blowing. Dad is late, but men are always late. It
is expected that they should come in late and laugh at the women who
chide and remind them that candles cost and that it makes the maid testy
to be kept waiting.
Men should laugh loud like Dad, and catch Mother under the chin and kiss
her once, twice, three times. Will means to be just such a man when he
grows up, and to fill the room with his big shoulders and bigger laugh
as Dad is doing now while tossing Brother Gilbert. He, little Will, he
will never be one like Goodman Sadler, Gammer's son-in-law, with a lean,
long nose, and a body slipping flatlike through a crack of the door.
And here Dad bends to tweak the ear of Will who would laugh noisily if
it hurt twice as badly. It makes him feel himself a man to wink back
those tears of pain.
[Illustration: "Dad bends to tweak the ear of Will"]
"A busy afternoon this, Mary," says Dad. "Old Timothy Quinn from out
Welcombe way was in haggling over a dozen hides to sell. Then Burbage
was over from Coventry about that matter of the players, and kept me so
that I had to send Bardolph out with your Cousin Lambert to Wilmcote to
mark that timber for felling."
Now for all Master Shakespeare's big, off-hand mentioning thus of facts,
this was meant for a confession.
Mary Shakespeare had risen to take the crowing Gilbert, handed back to
her by her husband, and with the other hand was encircling Will, holding
to her skirt. She was tall, with both grace and state, and there was a
chestnut warmth in the hair about her clear, white brow and nape, and in
the brown of her serene and tender eyes. These eyes smiled at John
Shakespeare with a hint of upbraiding, and she shook her head at him
with playful reproach.
Little Will saw her do it. He knew too how to interpret such a look. Had
Father been naughty?
"You are not selling more of the timber, John?" asked Mother.
"Say the word, Mistress Mary Arden of the Asbies," says Father grandly,
"and I stop the bargain with your Cousin Lambert where it stands. 'Tis
yours to say about your own. Though nothing spend, how shall a man live
up to his state? But it shall be as you say, although 'tis for you and
the boy. He is the chief bailiff's son--his Dad can feel he has given
him that, but would have him more. I have never forgot your people felt
their Mary stepped down to wed a Shakespeare. I have applied to the
Herald's College for a grant of arms. The Shakespeares are as good as
any who fought to place the crown on Henry VII's head. But it shall be
stopped. The land and the timber on it is Mistress Mary Shakespeare's,
not mine."
But Mary, pushing little Will aside clung to her husband's arm, and the
warmth in her tender eyes deepened to something akin to yearning as they
looked up at him. With the man of her choice, and her children--with
these Mary Shakespeare's life and heart were full. There was no room for
ambition for she was content. Had life been any sweeter to her as Mary
Arden of the Asbies, daughter of a gentleman, than as Mary Shakespeare,
wife of a dealer in leathers? Nay, nor as sweet!
But she could not make her husband see it so. Yet--and she looked up at
him with a sudden passion of love in that gaze--it was this big,
sanguine, restless, masterful spirit in him that had won her. From the
narrow, restricted conditions of a provincial gentlewoman's life, she
had looked out into a bigger world for living, through the eyes of this
masterful yeoman, his heart big with desire to conquer and ambition to
achieve. Was her faith in his capacity to know and seize the essential
in his venturing, less now than then? Never, never--not that, not that!
"Do as you will about it, John," begs Mary, her cheek against his arm,
"only--is it kind to say the land is mine? We talked that all out once,
goodman mine. Only this one thing more, John, for I would not seem ever
to carp and faultfind--you know that, don't you?--but that Bardolph----"
"He's a low tavern fellow, I allow, Mary--of course, of course. I know
all you would say--his nose afire and his ruffian black poll ever being
broken in some brawl, but he's a good enough fellow behind it, and
useful to me. You needs must keep on terms with high and low, Mary, to
hold the good will of all. That's why I am anxious to arrange this
matter with Burbage to have the players here, if the Guild will
consent----"
"Players?" says Will, listening at his father's side. "What are
players?"
"Tut," says Dad, "not know the players! They are actors, Will--players.
Hear the boy--not know the players!"
But Mother strokes his hair. "When I told you a tale, sweet, this very
morn, you went to playing it after. I was the Queen-mother, you said,
outside the prison walls, and you and Brother were the little Princes
in the cruel tower, and thus you played. You stood at the casement, two
gentle babes, cradling each other in your arms, and called to me below.
So with the players, child, they play the story out instead of telling
it. But now, these my babes to bed."
III
The next day things seem different. One no longer feels afraid, while
the memory of Gammer's tales is alluring. Will remembers, too, that
greens from the forest were ordered sent to the Sadlers for the making
of garlands for the Town Hall revels. Small Willy Shakespeare slipped
off from home that afternoon.
Reaching the Sadlers, he stopped on the threshold abashed. The
living-room was filled with neighbors come to help--young men, girls,
with here and there some older folk--all gathered about a pile of
greens in the center of the floor, from which each was choosing his bit,
while garlands and wreaths half done lay about in the rushes.
But, though his baby soul dreams it not, there is ever a place and
welcome for a chief bailiff's little son. They turn at his entrance, and
Mistress Sadler bids him come in; her cousin at her elbow praises his
eyes--shade of hazel nut, she calls them. And Gammer, peering to find
the cause of interruption and spying him, pushes a stool out from under
her feet and curving a yellow, shaking finger, beckons and points him to
it. But while doing so, she does not stay her quavering and garrulous
recital. He has come, then, in time to hear the tale?
"An' the man, by name of Gosling," Gammer is saying, "dwelt by a
churchyard----"
Will Shakespeare slips to his place on the stool.
Hamnet is next to him, Hamnet Sadler who is eight, almost a man grown.
Hamnet's cheeks are red and hard and shining, and he stands square and
looks you in the face. Hamnet has a fist, too, and has thrashed the
butcher's son down by the Rother Market, though the butcher's son is
nine.
Here Hamnet nudges Will. What is this he is saying? About Gammer, his
very own grandame?
"Ben't no witches," mutters Hamnet to Will. "Schoolmaster says so. Says
the like of Gammer's talk is naught but women's tales."
Whereupon Gammer pauses and turns her puckered eyes down upon the two
urchins at her knee. Has she heard what her grandson said? Will
Shakespeare feels as guilty as if he had been the one to say it.
"Ay, but those are brave words, Hammie," says Gammer, and she wags her
sharp chin knowingly; "brave words. An' you shall take the bowl yonder
and fetch a round o' pippins from the cellar for us here. Candle? La,
you know the way full well. The dusk is hardly fell. Nay, you're not
plucking Judith's sleeve, Hammie? You are not a lad to want a sister
at elbow? Go, now! What say you, Mistress Snelling? The tale? An' Willy
Shakespeare here, all eyes and open mouth for it, too? Ay, but he's the
rascalliest sweet younker for the tale. An' where were we? Ay, the fat
woman of Brentford had just come to Goodman Gosling's house----
[Illustration: "'Ay, but those are brave words, Hammie,' says Gammer"]
"Come back an' shut the door behind you, Hammie; there's more than a nip
to these December gales. I' faith, how the lad drumbles, a clumsy
lob----
"As you say, the fat woman of Brentford, one Gossip Pratt by name, an' a
two yards round by common say she was, an' that beard showing on her
chin under her thrummed hat an' muffler, a man with score o' years to
beard need not be ashamed of--this same woman comes to Goodman
Gosling's, him as dwelt by the churchyard. But he, avised about her
dealings, sent her speedily away, most like not choosing his words, him
being of a jandered, queazy stomach, an' something given to tongue. For
an hour following her going, an' you'll believe me--an' I had it from
his wife's cousin a-come ten year this simple time when I visited my
sister's daughter Nan at Brentford--his hogs fell sick an' died to the
number o' twenty an' he helpless afore their bloating and swelling.
"Nor did it end there, for his children falling ill soon after--a
pretty dears they were, I mind them, a-hanging of their heads to see a
stranger, an' a finger in mouth--they falling sick, the woman of
Brentford come again, an' this time all afraid to say her nay. An'
layin' off her cloak, she took the youngest from the mother's breast,
dandling an' chucking it like an honest woman, whereupon it fell
a-sudden in a swoon.
"An' Goodwife Gosling seizing it, an' mindful of her being a
witch-woman, calling on the name of God, straightway there fell out of
the child's blanket a great toad which exploded in the fire like any
gunpowder, an' the room that full o' smoke an' brimstone as none
could--Save us! What's that!" cried Gammer.
[Illustration: "'Save us! What's that!' cried Gammer"]
What, indeed! That cry--this rush along the passageway! Will
Shakespeare, with heart a-still, clutches at Gammer's gown as there
follows a crash against the oaken panels.
But as the door bursts open, it is Hamnet, head-first, sprawling into
the room, the pippins preceding him over the floor.
"It were ahind me, breathin' hoarse, on the cellar stairs," whimpers
Hamnet, gathering himself to his knees, his fist burrowing into his
eyes.
Nor does he know why at this moment the laughter rises loud. For
Hamnet cannot see what the others can--the white nose of Clowder, the
asthmatic old house-dog, coming inquiringly over his shoulder, her tail
wagging inquiry as to the wherefore of the uproar.
But somehow, little Will Shakespeare did not laugh. Instead his cheeks
and his ears burned hot for Hamnet. Judith did not laugh either. Judith
was ten, and Hamnet's sister, and her black eyes flashed around on them
all for laughing, and her cheeks were hot. Judith flung a look at
Gammer, too, her own Gammer. And Will's heart warmed to Judith, and he
went too when she sprang to help Hamnet.
Hamnet's face was scarlet yet as he fumbled around among the rushes and
the greens for the pippins, and this done he retired hastily to his
stool. But three-legged stools are uncertain, and he sat him heavily
down on the rushes instead.
Whereupon they laughed the louder, the girls and the women too--laughed
until the candle flames flickered and flared, and Gammer, choking over
her bowl, for cates and cider were being handed round, spilled the drink
all down her withered neck and over her gown, wheezing and gasping until
her daughter snatched the bowl from her and shook the breath back into
her with no gentle hand.
IV
Meanwhile Will plucked Hamnet now blubbering on his stool, by the
doublet. But Hamnet, turned sullen, shook him off. Perhaps he did not
know that Will and Judith had not laughed. But since Hamnet saw fit to
shake him off, Will was glad that just then, with a rush of cold air and
a sprinkling of snow upon his short coat, Dad came in. His face was
ruddy, and as he glanced laughingly around upon them all, he drew deep
breath of the spicy evergreens, so that he filled his doublet and
close-throated jerkin to their full.
"Good-even to you, neighbors," says Dad. "An' is it great wonder the boy
will run away to hie him here? The rogue kens a good thing equal to his
elders. But come, boy; your mother is even now sure you have wandered to
the river."
And Dad, with a mighty swing, shoulders Will, steadying him with a palm
under both small feet; then pauses at Mistress Snelling's questioning.
"Is it true," she inquires, "that the players are coming?"
Sandy-hued Mistress Sadler stiffens and bridles at the question. The
Sadlers, whisper says, are Puritanical, whereas there are those who
hold that John Shakespeare and his household, for all they are observant
of church matters, have still a Catholic leaning. Fond of genial John
Shakespeare as the Sadler household are, they shake their heads over
some things, and the players are one of these.
"Is it true they are coming?" repeats Mistress Snelling.
"Ay," says Dad, "an' John Shakespeare the man to be thanked for it. Come
Twelfth Day sennight, at the Guild Hall, Mistress Snelling."
"Am I to see them, Dad?" whispers small Will, his head down and an arm
tight about his father's neck as they go out the door.
"Ay, you inch," promises Dad, stooping, too, as they go under the
lintel beneath the penthouse roof, out into the frosty night. The stars
are beginning to twinkle through the dusk, and the frozen path crunches
underfoot. On each side, as they go up the street, the yards about the
houses stand bare and gaunt with leafless stalks.
"Yes," says Dad. "Ay, boy, you shall see the players from between Dad's
knees."
[Illustration: "'Ay, boy, you shall see the players'"]
And like the old familiar stories we put on the shelf, gloating the
while over the unproven treasures between the lids of the new,
straightway Gammer's tales are forgot. And above the wind, as it whips
scurries of snow around the corners, pipes Will's voice as they trudge
home. But his pipings, his catechisings, now are concerned with this
unknown world summed up in the magic term, "The Players."
V
And Dad was as good as his word. First came Christmastide, with all
Master Shakespeare's fellow burgesses to dine and the house agog with
preparation. No wonder John Shakespeare had need of money to live up to
his estate, for next came the Twelfth Night revels with the mummers and
waits to be fed and boxed at the chief bailiff's door. And Mary
Shakespeare said never a word, but did her husband's bidding cheerfully,
even gayly. She had set herself to go his way with faith in his power to
wrest success out of venture, and she was not one to take back her
word.
The week following, John Shakespeare carried his little son to see the
players.
"And was it not as I said?" Mother asked, when the two returned. "Did
not the child fall asleep in the midst of it?"
"Sleep!" laughed Dad, clapping Will, so fine in a little green velvet
coat, upon the shoulder. "He sleep! You do not know the boy. His cheeks
were like your best winter apples, an' his eyes, bless the rogue, are
shining yet. An' trotting homeward at my heels, he has scarce had breath
to run for talking of it. 'Tis in the blood, boy; your father before
you loves a good play, an' the players, too."
And Will, blowing upon his nails aching with the cold, stands squarely
with his small legs apart, and looks up at Father. "An' I shall be a
player, too, when I'm a man," says Willy Shakespeare. "I shall be a
player and wear a dagger like Herod, an' walk about an' draw it--so----"
and struts him up and down while his father laughs and claps hand to
knee and roars again, until Mistress Shakespeare tells him he it is who
spoils the child.
[Illustration: "'An' I shall be a player, too' ... says Willy
Shakespeare"]
But for Will Shakespeare the curtain had risen on a new world, a world
of giant, of hero, of story, a world of glitter, of pageant, of
scarlet and purple and gold. And now henceforth the flagstoned floor
about the chimney was a stage upon which Mother and Brother and Kitty,
the maid, at little Will's bidding, with Will himself, played a part; a
stage where Virtue, in other words Will with the parcel-gilt goblet
upside down upon his head for crown, ever triumphed over Vice, in the
person of dull Kitty, with her knitting on the stool; or where,
according to the play, in turn, Noah or Abraham or Jesus Christ walked
in Heaven, while Herod or Pilate, Cain or Judas, burned in yawning Hell.
VI
But as spring came, the garden offered a broader stage for life. The
Shakespeare house was in Henley Street, and a fine house it was--too
fine, some held, for a man in John Shakespeare's
circumstances--two-storied, of timber and plaster, with dormer-windows
and a penthouse over its door. And like its neighbors, the house stood
with a yard at the side, and behind, a garden of flowers and fruit and
herbs. And here the boy played the warm days through, his mother
stepping now and then to the lattice window to see what he was about.
And, gazing, often she saw him through tears, because of a yearning love
over him, the more because of the two children dead before his coming.
[Illustration: "His mother stepping now and then to the lattice window
..."]
And Will, seeing her there, would tear into the house and drag her by
the hand forth into the sweet, rain-washed air.
"An' see, Mother," he would tell her, as he haled her on to the sward
beyond the arbor, "here it is, the story you told us yester-e'en. Here
is the ring where they danced last night, the little folk, an' here is
the glow-worm caught in the spider's web to give them light."
But something had changed Mary Shakespeare's mood. John Shakespeare,
chief bailiff and burgess of Stratford, was being sued for an old debt,
and one which Mary Shakespeare had been allowed to think was paid.
Thereupon came to light other outstanding debts of which she had not
known which must be met. John Shakespeare, with irons in so many fires,
seemed forever to have put money out, in ventures in leather, in wool,
in corn, in timber, and to have drawn none in. And now he talked of a
mortgage on the Asbies estate.
"Never," Mary told herself, with a look at little Will, at toddling
Gilbert at her feet, with a thought for the unborn child soon to add
another inmate to the household--"not with my consent. When the time
comes they are grown, what will be left for them?"
She was bitter about the secrecy of those debts incurred unknown to her.
And yet to set herself against John!
Wandering with the children down the garden-path, idly she plucked a red
rose and laid its cheek against a white one already in her hand. A
kingdom divided against itself.
She sighed, then became conscious of the boy pulling at her sleeve.
"Tell us a story, Mother," he was begging, "a story with fighting an' a
sword."
"A story, Will, with fighting and a sword?" Never yet could she say the
child nay. She held her roses from her and pondered while she gazed. And
her heart was bitter.
"There was an Arden, child, whose blood is in your veins, who fought and
fell at Barnet, crying shrill and fierce, 'Edward my King, St. George
and victory!' And the young Edward, near him as he fell, called to a
knight to lay hand to his heart, for Edward knew and loved him well, and
had received of him money for a long-forgotten debt which young Edward's
father would not press. So Edward called to a knight to lay hand upon
his heart. But he was dead. 'A soldier and a knight,' said he who was
afterward the King, 'and more--an honest man.'"
Then she pushed the boy aside and going swiftly to the house ran to her
room; and face laid in her hands she wept. What had she said in the
bitterness of her feeling? What--even to herself--had she said?
Yet money must be had, she admitted that. But to encumber the estate!
She shrank from her own people knowing; she had inherited more of her
father's estate than her sisters, and there had been feeling, and her
brothers-in-law, Lambert and Webb, would be but upheld in their
prophecies about her husband's capacity to care for her property. She
would not have them know. "Talk it over first with your father, John,"
she told her husband, "or with your brother Henry. Let us not rush
blindly into this thing. You had promised anyhow, you remember, to take
Will out to the sheep-shearing."
VII
So the next morning John Shakespeare swung Will up on the horse before
him, and the two rode away through the chill mistiness of the dawn, Will
kissing his hand back to Mother in the doorway. Bound for Grandfather's
at Snitterfield they were. So out through the town, past the scattering
homesteads with their gardens and orchards, traveled Robin, the stout
gray cob, small Will's chattering voice as high-piped as the bird-calls
through the dawn; on into the open country of meadows and cultivated
fields, the mists lifting rosy before the coming sun, through lanes
with mossy banks, cobwebs spun between the blooming hedgerows heavy with
dew, over the hills, past the straggling ash and hawthorn of the
dingles. And everywhere the cold, moist scent of dawn, and peep and call
of nest-birds.
[Illustration: "Bound for Grandfather's at Snitterfield they were"]
And so early has been their start and so good stout Robin's pace, that
reaching the Snitterfield farm, they find everything in the hurly-burly
of preparation for sheep-shearing. So, after a hearty kissing by the
womenfolk, aunts and cousins, Will, with a cake hot from the baking
thrust into his hand, goes out to the steading to look around. At
Snitterfield there are poultry, and calves, too, in the byre, and
little pigs in the pen back of the barn. Then comes breakfast in the
kitchen with the farm-hands with their clattering hobnailed shoes and
tarry hands, after which follows the business of sheep-washing, which
Will views from the shady bank of the pool, and in his small heart he is
quite torn because of the plaintive bleatings of the frightened sheep.
But he swallows it as a man should. There is a pedler haunting the
sheep-shearing festivals of the neighborhood. The women have sent for
him to bring his pack to Snitterfield, and Dad bids Will choose a pair
of scented gloves for Mother--and be quick; they must be off for
Stratford before the noon.
Dad seems short and curt. Grandfather, his broad, florid face upturned
to Dad astride Robin, shakes his hoary head. "Doan' you do it, son
John," says Grandfather; "'tis a-building on sand is any man who thinks
to prosper on a mortgage. Henry and I'll advance you a bit. After which,
cut down your living in Henley Street, son John, an' draw in the
purse-strings."
VIII
But baby years pass. When Will Shakespeare is six, he hears that he is
to go to school. But not to nod over a hornbook at the petty school--not
John Shakespeare's son! Little Will Shakespeare is entered at King's New
College, which is a grammar-school.
But, dear me! Dear me! It was a dreary place and irksome. At first small
Will sat among his kind awed. When Schoolmaster breathed Will breathed,
but when Schoolmaster glanced frowningly up from under overhanging brows
like penthouse roofs, then the heart of Will Shakespeare quaked within
him.
But that was while he was six. At seven, when the elements of Latin
grammar confronted him, Will had already found grammar-school an
excellent place to plead aching tooth or heavy head to stay away from.
At eight, a dreary traveling for him to cover did his "_Sententiae
Pueriles_" prove, and idle paths more pleasing.
At nine, he had learned to know many things not listed at
grammar-school. For instance, he knew one Bardolph of the brazen, fiery
nose, the tapster at the tavern. It was Bardolph who drew him out from
under the knee and belaboring fists of one Thomas Chettle, another
grammar-school boy, who had him down, behind High Cross in the Rother
Market.
[Illustration: "For instance, he knew one Bardolph ... the tapster at
the tavern"]
"In the devil's name," said Bardolph, setting him on his feet, "with
your nose all gore an' never an eye you can open--what do you mean, boy,
to be letting the like of _that_ come over you?" "That" meant Thomas
Chettle, his fists squared, and as red as any fighting turkey, held off
at arm's-length by Bardolph.
"Come over me!" cries Will, with a rush at Thomas, head down, for all
his being held off by Bardolph's other hand. "Who says he has come over
me?"
Now the matter stood thus. The day before, Will Shakespeare had
followed a company of strolling mountebanks about town instead of going
to school. And Thomas Chettle had told Schoolmaster, and he had told
Father. When Will reached home the evening before, Dad was telling as
much to Mother and blaming her for it. "An' Chettle's lad admits Will
had ever rather see the swords an' hear a drum than look upon his
lessons----"
This Father was saying as Will sidled in. Will heard him say it. And so
Thomas Chettle had to answer for it.
"Come over me!" says Will to Bardolph who is holding him off and
contemplating him, a battered wreck. "Come over me!" spitting blood and
drawing a sleeve across his gory countenance, "I'd like to see him do
it!" Will Shakespeare was not one to know when he was beaten.
IX
A year or two more, and school grew more irksome. Father fumed, and
Mother sighed and drew Will against her knee whereon lay new little
Sister Ann while little Sister Joan toddled about the floor. "Canst not
seem to care for your books at all, son?" Mother asked, brushing Will's
red brown hair out of his eyes. "Canst not see how it frets Father, who
would have his oldest son a scholar and a gentleman?"
He meant to try. But hadn't Dad himself let him off one day to tramp
at heels after him and Uncle Henry in Arden Forest? Will Shakespeare at
eleven is a sorry student.
There comes a day when he is a big boy near thirteen years old. It is a
time when the soft, hot winds of spring and the scent and the pulse of
growing things get in the blood, and set one sick panting for the woods
and the feel of the lush green underfoot and the sound of running water.
Not that Will Shakespeare can put it into words--he only knows that when
the smell of the warm, newly turned earth comes in at the schoolroom
window and the hum of a wandering bee rises above the droning of the
lesson, he lolls on the hacked and ink-stained desk and gazes out at
the white clouds flecking the blue, and all the truant blood in his
sturdy frame pulls against his promises.
Then at length comes a day when the madness is strong upon him and he
hides his books, his Cato's _Maxims_, or perchance his _Confabulationes
Pueriles_, under the garden hedge, and skirting the town, makes his way
along the river. And there, hidden among the willows and green alders
and rustling sedge, he spends the morning; and when in the heat of the
day the fish refuse to nibble, he takes his hunk of bread out of his
pocket and lies on his back among the rushes, while lazy dreams flit
across his consciousness as the light summer clouds rock mistily across
the blue.
[Illustration: "Hidden among the willows ... he spends the morning"]
And, the wandering madness still upon him, in the afternoon he skirts
about and tramps toward Shottery. It is no new thing to go to Shottery
with or without Mother for a day at the Hathaways'. There always has
been rebellion in the blood of Will Shakespeare, and there is a slender,
wayward, grown-up somebody at Shottery who understands. Ann Hathaway has
stayed often in Stratford with the Shakespeare household. Mother loves
Ann; Father teases and twits her; the young men, swains and would-be
sweethearts, swarm about her like bumblebees about the honeysuckle at
the garden gate.
And when she is there, Will himself seldom leaves her side. He has oft
been a rebellious boy, whereat Mother has sighed and Father has sworn;
but Ann, staying with them, and she alone, has laughed. She has
understood.
And there have been times when this tall brown-haired young person has
seized his hand, as if she too had moments of rebellion, and the two
have run away--away from the swains and the would-be sweethearts, the
Latin grammar and the scoldings, to wander about the river banks and the
lanes.
[Illustration: "The two have run away ... to wander about the river
banks."]
X
So this afternoon Will tramped off to Shottery. There was a
consciousness in the back of his mind of wonderful leafiness and
embowering, of vines and riotous bloom about Ann's home. He opened the
wicket and trudged up the path, and peered in at the open door. Ann,
within the doorway, saw him. She looked him in the eye, then up at the
sun yet high in the sky, and laughed. And he knew she understood
it--truancy.
[Illustration: "He ... trudged up the path and peered in at the open
door"]
Perhaps she understood more than the fact, perhaps she understood the
feeling. She threw her work aside, needle stuck therein, and clapped a
wide straw hat upon her head and taking his hand dragged him down the
path and out the gate and away--along the Evesham road.
But she lectured him nevertheless, this red-cheeked boy with the full as
yet undisciplined young mouth and the clear, warm hazel eyes.
"You tell me that I, too, throw my work down and run away? Ay, Will,
there's that hot blood within me that sweeps me out every now and then
from within tame walls and from stupid people, and makes me know it is
true, the old tale of some wild, gypsy blood brought home by a soldier
Hathaway for wife. But there is this difference, if you please, sir;
I throw down my work because I have fought my fight and conquered it, am
mistress of what I will in my household craft. Think you that I love the
molding of butter and the care of poultry, or to spin, to cut, to sew,
because I do them and do them well? It is not the thing I love, Will--it
is in the victory I find the joy. I would conquer them to feel my power.
Conquer your book, Will, stride ahead of your class, then play your fill
till they arrive abreast of you again. But a laggard, a stupid, or a
middling! And, in faith, the last is worst."
They walked along, boy and young woman, she musing, he looking up with
young ardor into her face. "You--you are so beautiful, Ann," the boy
blurted forth, "and--and--no one understands as you do."
She laid a hand on his shoulder and turned her dark eyes upon him.
Teasing eyes they could be and mocking, yet sweet, too. Ah, sweet and
tender through their laughter!
"Shall I tell you why I understand, Will Shakespeare, child?" Was she
talking altogether to the boy, or above his head--aloud--as to herself?
"I am a woman, Will, and at nineteen most such are already wife and
mother, and I am still unwed. Shall I tell you why? We are but souls
wandering and lonely in the dark, Will, other souls everywhere
around, but scarce a groping hand that ever meets or touches our
outstretched own. In all life we feel one such touch, perchance, or two.
The rest we know no more than if they were not there. My father, great,
simple, countryman's soul, I knew, Will, and Mary Shakespeare I know.
Would she might learn she could do more with John through laughter, dear
heart; but the right is ever stronger with Mary than the humor of the
thing. My father and Mary I have known. And you, you I knew when in your
rage you fell upon the maid, baby that you were at five, and beat her
with your fists because she wantonly swept your treasures--a rose
petal, a beetle wing, a pebble, a feather--into her kitchen fire. I knew
you then, for so I had been beating at fate my life long. I knew you,
Will, and, dear child, always since I have watched and understood. Rebel
if you will; be free; but to be free, forget not, is to be conqueror
over that within self first."
Will caught her hand; he whispered; his voice burned hot with a child's
jealousy.
"'Tis said you are to wed Abraham Stripling, Ann, an' that the foreign
doctor who wants to wed you, broke Abra'm's head with his pestle."
Ann Hathaway laughed; her eyes were mocking now; she backed against
the lichened trunk of a giant elm by the roadside, a young, beauteous
thing, and looked at the boy in scorn. "I to marry Abraham Stripling!
Child though you are, you know me better than that. Did I not just tell
you I am free now--free? That I have held fast to my duty, and so come
to where I might be free? Have held them at bay--family, cousins,
elders, sweethearts--until now, the rest married and gone, and the tasks
as they gave them up come to be mine, my mother needs me, and my life
may be my own--and free. For who has come to wed me? Did I not just say
I was--I am--free? A soul groping lonely in the dark? No man's hand has
reached toward mine that I, a woman and a weakling, could not shake off.
When the masterful hand, groping, seizes mine, I shall know it, and I--I
will kiss it with my lips--and--and follow after."
[Illustration: "'When the masterful hand, groping, seizes mine, I shall
know it'"]
She came back to him as one from an ecstasy. "And now, child, go on
home. It is late. And hurry or Mary will be fretting. You have had your
cake and eaten it. Now go pay for it. 'Discipline must be maintained,'
says your Welsh schoolmaster. And sure he will flog you."
XI
But no one at home had missed him. The Henley Street house was full of
hurry and confusion when he arrived. No one noticed him. The neighbors
came in and out, Mistress Sadler and Mistress Snelling, and the foreign
doctor who would like to wed Ann, or passed on up to a room above, where
little sister Annie, named for Ann Hathaway, lay dying of a sudden
croup. And all since morning, since Will stole away.
He knows this thing called Life, this deep inbreathing, this joy of
shout, of run, of leap, of vault. He knows--strong healthy young
animal--he knows this thing. But the other--this strange thing called
Death: the darkened room; Father with his head fallen on his breast
standing at the lattice gazing out at nothing; Mother kneeling, one arm
outstretched across the bed, her head fallen thereon, and Mistress
Sadler trying to raise and lead her away; and this--this waxen whiteness
framed in flaxen baby rings on the pillow--this little stiffening hand
outside the linen cover?
Will Shakespeare cries out. He has touched little sister Annie's hand
and it is cold.
[Illustration: "This strange thing called Death...."]
XII
And after that, things went worse in the Shakespeare household. All of
John Shakespeare's ventures were proving failures. Debt pressed on every
side. There began talk again of a mortgage on the Asbies estate, and
this time none could say nay.
Dad went about with his head sunk on his breast, and at home sat staring
in moody silence.
[Illustration: "Dad ... sat staring in moody silence"]
"Don't, Mary, don't," he would say to Mother, putting her hand on his
shoulder. "Take the children away. Instead of the name their father
would have left them, 'John Shakespeare, Gentleman,' they are to read
it--what?"
"John, John," said Mother, "is there no more then in it all--our love,
our lives--than pride?"
Pride! Will Shakespeare by now knew what it meant, and his heart went
out to his father. He had felt the sting of this thing himself. It had
been the year before. Dad had taken him behind him on his horse to
Kenilworth, to see the masks and fireworks given by the Earl of
Leicester in the Queen's honor. The gay London people come down with the
court had sat in stands and galleries to witness the spectacle of the
water pageant, breathing their perfumed breath down upon the country
people crowding the ground below. And Will Shakespeare among these, at
sight of the great Queen, had cheered with a lusty young throat and
thrown his cap up with the rest. Will Shakespeare was the once chief
bailiff's son. He was the son of Mary Arden of the Asbies. Though he
never had thought about it one way or another, he had always known
himself as good as the best.
And so at Kenilworth, standing with the crowd and looking up at the
jeweled folk in fine array casting their jokes and gibes down at the
trammel, he had laughed, too, as honest as any. But when the time came
for the water pageant, Dad had given him a lift up and a boost to the
branches of a tree. And he had heard what she said, the lady upon whom
he had from the first fixed his young gaze, the dark lady, with the
jewels in her dusky hair, breathing lure and beauty and glamour. As he
straddled the limb of his high perch that brought him so near her, he
heard her cry out, her head thrown backward on her proud young throat:
"Ah, the little beast, bringing the breath of the rabble up to our
nostrils."
And it was something like to what burned in young Will Shakespeare's
soul then that Dad was feeling now. Will, big boy that he was, laid a
hand on Dad's hand. Father looked up; their eyes met.
Dad threw an arm about his shoulder and drew him close--father and son.
Something passed from the older to the younger. The boy squared his
shoulders. The man in Will Shakespeare was born.
How best could he help Dad? So the lad pondered, meanwhile digging the
sense piecemeal out of his _Ovid_ for the morrow's lesson.
"_It is the mind that makes the man, and our
strength--measure--vigor_"--any one of the three words would do--"_our
measure is in our immortal souls_."
Why--why is there truth in books? Had Ovid lived and been a man, a man
who knew and fought it out himself?
Will Shakespeare caught sight of a great and glorious kingdom he had not
visioned before. The schoolmaster hitherto had talked in riddles.
XIII
Yet a year after this Will Shakespeare, just awakened to a love of
letters, threw his books down. Mother's brown hair, as she leaned over
her new child, Edmund, showed lines of gray. Dad, the day's trade over,
sat brooding at home, and scarce would hie him forth, the fear of
process for debt hanging over him.
Tall sturdy Will Shakespeare could buy up cattle and trade for hides as
well as the butcher's son in Rother Market. Will Shakespeare threw down
his books and went forth into the world--a man.
[Illustration: "Tall, sturdy Will Shakespeare could buy up cattle ... as
well as the butcher's son"]
A man? A man, yes; once his stripling days of hot blood are over, days
of rustic rout, of fight and wrestle, of deer-stealing, of wanderings
with strolling players; a man, husband to Ann Hathaway, father of
children, son of Mary Arden of the Asbies, Gentlewoman--of John
Shakespeare, failure, who would be Gentleman; a man, this William
Shakespeare, gone up to London to do a part in the world. In the world?
This world wherein all is gain and nothing loss, does one but make it
so; all is garnering; all is treasure; all, if so one deem it, is
pageant, poetry, and drama; the rustic, the maid, the gammer, the
tapster, the schoolboy, the master; the lubberfolk, the witch, the
fairy, the elf, the goblin; the fat woman of Brentford, the man dwelling
by the churchyard, Snelling, Sadler, Bardolph, Clowder, the old dog; the
mummer, the wait, the revel, the cates and ale, the player strutting the
stage as Herod; the sheep-shearing, the pedler, the glove; the white
rose and the red; the Princes in the tower; St. George and victory;
king, knight, soldier; the Avon sweetly flowing in its banks; the
forest; the clouds rocking across the blue; stripling; the foreign
doctor; queen, courtier, lady; love, life, death; hope, struggle,
despair; pride, ambition, failure; vision, striving, achievement;
wisdom, philosophy, contemplation; into the world where all is gain and
nothing loss, does one make it so, went William Shakespeare of
Stratford, to conquer.
End of Project Gutenberg's A Warwickshire Lad, by George Madden Martin
*** END OF THIS PROJECT GUTENBERG EBOOK A WARWICKSHIRE LAD ***
***** This file should be named 27187-8.txt or 27187-8.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/2/7/1/8/27187/
Produced by David Garcia, Martin Pettit and the Online
Distributed Proofreading Team at https://www.pgdp.net (This
file was produced from images generously made available
by The Kentuckiana Digital Library)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
